Dust
by Reichenbach
Summary: Bruce Wayne has come to Smallville to look for something. Meanwhile, something else is looking for HIM. (Apologies for part of formatting being eaten--will post URL to full story off site next chapter.)
1. Teaser

Because WB will NEVER, EVER do this. 

Disclaimer: Standard disclaimers apply. Don't sue me I'm poor. 

"Dust

**

TEASER: 

EST Shot: Outside the Talon. The marquis reads "Sadie Hawkins Dance, Saturday Night." 

Outside, two men in dark clothes walk past the front window slowly and make note of the man at the counter.

BILL

It's that little prick from Chicago

They hang near the Talon, watching. 

CUT TO: 

Interior 

Behind the counter, LANA is ringing up a tall to-go cup of coffee for a dark stranger. From behind, we see he is wearing a black turtleneck and black pants. He's tall, well-built with dark hair. 

LANA

That'll be two-fifty. 

(Looks past the customer to the opening door.) 

Hi Lex. 

LEX

Enters the Talon. He doesn't even see the stranger's face before he speaks.

Well, if it isn't "Thunder Fists." I take it you've heard about Lexcorp's latest deal with Queen Industries. 

A shop worker opens a janitor closet behind the bar. He takes a bucket out of a mop sink on the floor, and goes to clean up spilled coffee on the other side of the shop.

BRUCE

Picks up a paper and drops a twenty on the counter. Lana picks it up to make change, but he walks away.

Umm hum.

LEX 

To LANA

I'll be right back.

Follows BRUCE out of the shop. The two men from earlier are watching from across the street.

I'm guessing you're noticing I'm expanding pretty far into the agricultural business, and you're prepared to roll over and give up.

BRUCE

Smiles.

You know, one might consider crawling into the middle of nowhere--and hiding--to be giving up.

LEX

Don't worry about me, Bruce. I have certainÉ interests in this town. It's more engaging than you might think.

Waves to CLARK down the street.

Clark!

CLARK

Approaches wearing red jacket and blue sweater. He's carrying a crate of muffins.

Hey Lex!

BRUCE 

Classic eyebrow arch.

Training a protŽgŽ? 

LEX

Hardly. Clark, this is Bruce Wayne. We went to school together. Bruce, Clark Kent. 

LEX fails to notice BRUCE'S sudden interest at the mention of the name

LEX

His mother makes the best muffins in the county. 

He lifts the lid of the crate and pilfers one.

CLARK

Readjusts crate in his arms, then holds out a hand. He and BRUCE exchange a strong shake.

Nice to meet you. I'm sure you two have some catching up to do. And I better get this stuff to Lana, before the breakfast crowed revolts. 

Heads for the door

Catch you and your friend later, Lex. 

BRUCE

We're not friends. 

Clark enters the Talon

LEX

Not even acquaintances, really!

The door slowly closes behind CLARK. LEX mutters to himself.

The term Ôbitter enemy' comes to mind.

BRUCE

Melodramatic as usual. I'mÉ vacationing.

LEX

Why am I intrigued but suspicious?

CHLOE enters the Talon, giving BRUCE a good hard look.

BRUCE

That would be the paranoia again, Lex. 

INSIDE the Talon. 

CLARK 

Are we ready to start decorating for the Sadie Hawkins Dance? 

LANA

Only half-interested. She is unloading pastries

Yeah, I just wanted to wait until we were all up to fire code and stuff before we start tossing Ôhighly flammable streamers' across the place.

CHLOE enters. 

CHLOE

Comes up to the counter, excitement barely contained

Was that Bruce Wayne? 

CLARK

I think that's what Lex said his name was. How do you know him? 

CHLOE

He's Gotham City's own little Lex Luthor. Teenage heir to his to the Wayne financial empire. And he's NOT here to go fishing with Lex. This is probably the coolest thing to happen sinceÑWell I think it'sÉ cool. 

Chloe is entranced. A few seconds later, Lex walks through the door, finishing the rest of his muffin.

LEX

I have a copy of the new insurance policy. I'd take a look at page nine, if I were you. 

Hands her the envelope.

LANA

Sorry you had to make a special trip down here. 

LEX

Still looking out the window

  It gives me an excuse to get out. 

CLARK

So what's the deal with "Bruce Wayne"? Chloe seems to think its some historic meeting of minds. 

LEX

Bruce Wayne is a spoiled little prick who desperately needs beaten to a pulp and put in his place. 

CHLOE

I should try to get an interview.

Dashes out the door

LANA

` Wow, Lex. Tell us how you really feel. 

LEX

My capacity for tact ends SOMEWHERE. 

CUT to BRUCE outside rental car. He walks past several people busy doing Saturday morning chores, who attempt to WANT to be friendly, but he makes an active art of avoiding them. He does, however, take note of the two men watching him from across the street. They break eye contact and try to avoid his gaze. He scowls at them. 

He swigs from of his cup of coffee, then puts it on the roof of the car. He takes out the keys, presses the button on the keychain to unlock the car, then takes out two folded pieces of paper torn out of a magazine from his back pocket. He looked at the first, which is a picture of a red barn, a Kryptonian symbol burned into the side. The photo credit reads "C. Sullivan" and the caption mentions the "Kent family farm." He looks from the caption back to the Talon. We can see CHLOE approaching, but he does not notice or care. 

BRUCE

Gives a smile of understanding.

You always have an angle, don't you, Lex? 

OPENING CREDITS


	2. Act I

See teaser for disclaimers

ACT I

**

BRUCE folds the article and puts it back in his pocket. Just as he reaches for the door, CHLOE'S hand slips into his.

Across the street, LARRY and BILL watch them with interest. 

CHLOE

Hi, Chloe Sullivan, Smallville High Torch, occasional contributor to The Smallville Ledger. Bruce Wayne? 

BRUCE

Sullivan?

His hand touches his back pocket.

CHLOE

Sullivan. I was wondering if I could trouble you for an interviewÑyou know, what brings you to Smallville, what it's like being nineteen and the heir to billions. The usual.

BRUCE

And occasional photo contributor to U.S. Weekly? 

CHLOE

I didn't think anyone read that article, much less read the caption. But, yeah. 

BRUCE

Knows he has what he wants.

I can definitely help out with the second part of that. The firstÉ not quite sure WHY I'm here yet. 

CHLOE

Clearly infatuated

Well, I'm definitely open to the possibility of helping you with that. 

BRUCE

Got time now?

He opens the car door, and takes a jacket off the passenger seat, throwing it over the contents of the back seatÑSeveral printout pages detailing symbols found on the cave walls, a black ski mask, and what looks like heist equipment. CHLOE gets into the car. LARRY and BILL take note of who he's with.

INSIDE the Talon: 

LEX

Looking out the window with concern.

I'm not so sure she should be doing that.

CLARK

Coming to the window

Chloe can fend for herself.

LEX

Bruce Wayne is a hothead with a violent streak. And from what I hearÉ a player. 

Takes out his keys. To CLARK:

Feel like playing backup? 

SCENE: Interior of BRUCE'S rental car. They approach an intersection.

CHLOE

The quickest way is to hang a left at these corn stalks, and keep going until you stop seeing corn stalks. That's the school.

BRUCE

I take it you're not from around here. 

CHLOE

I plan on moving back to Metropolis as soon as humanly possible. 

BRUCE

Notices a sleek looking car in his rear view mirror.

Entirely understandable. Lex, Lex Lex. 

Chloe looks behind them. 

STILL a Grade-A pest. 

Adjusts the mirror. 

Feel like teaching the mighty Mr. Luthor a lesson? 

He doesn't wait for an answer. He makes the bend sharp, and then speeds up. Getting to the next intersection, quarter of a mile down, he makes another sharp bend. CHLOE holds on to the arm rest, not sure what to think. A small smile finally breaks on her face when BRUCE makes a sharp J turn and flies in the opposite direction as LEX. He takes another intersection and shoots up a gravel road. 

CUTTO: LEX's car. LEX comes to an abrupt halt, throwing the car into reverse and doing his own J turn and CLARK looks around helplessly. 

LEX

Now this guy is ticking me off.

He gets to the intersection and sees it goes three ways. He slows the car down, not sure where to go. 

CUT TO: BRUCE's car

BRUCE slows down and gets back on a main road, on the other side of the school. 

CHLOE

That was SO cool. I HAVE to know where you learned to drive like that. 

BRUCE

Smiles, satisfied.

You never know when it'll come in handy.

Parks in the school parking lot.

SCENE: The Talon. 

LANA

Looking through the papers of the new insurance policy. 

They reduced the seating capacity to 322 seats. 

PETE

Sorting through various boxes of party decorations. 

That includes the coffee shop? 

LANA

Yeah. Apparently reducing legal capacity is somehow going to control spontaneous fires from breaking out.

PETE  
But we sold twice as many tickets for the Sadie Hawkins Dance. There has to be SOMETHING we can do. 

LANA

I already tried talking to them, and they won't budge. Maybe Lex will have more pull than I do.

  
The phone rings behind the counter and LANA answers. She talks in hushed, concerned tones while PETE begins closing up boxes, not sure what to do. Hangs up phone. To PETE: 

LANA

That was Lex. 

PETE

Is he going to talk to the insurance company?

LANA

I didn't get that far. He was wondering if Chloe had shown up back here. Apparently Bruce Wayne saw Lex behind him, and just took off. 

PETE

He stops rooting around. 

With Chloe in the car? That doesn't look good. 

SCENE: LEX'S car. 

CLARK

You should drop me off at my house. Both of us in cars would be faster than just one of us. 

LEX

Too bad we're on the opposite end of Smallville.

CLARK

Then let me off at a pay phone, and I'll call someone. My dad, the policeÉ 

LEX gives him an inquisitive look.

CLARK

I'd just rather be doing SOMETHING, instead of NOTHING. 

LEX

You ARE doing something. We're looking. Together. 

CLARK

I just meanÉ Look. I don't even know what the deal is between you two. And whatever impression you have of himÉ Chloe has good instincts. I can't think she'd just get into the car with someone who set off her weird-dar. 

LEX

Appearance can be deceiving, Clark. YOU should know that by now.

SILENCE.

This road lets off on Peterson Run. That means they're probably still in Smallville, because that just circles back into town. If we don't see them after thatÉ THEN we'll call someone. 

SCENE: The Torch office. BRUCE is looking around. He inspects the computers, and a photo of the Torch staff. 

BRUCE

So this is where you work out of?

CHLOE

Dashes around, picking things up and straightening. Tries to clean up/make the place hospitable

It's kind of a cave. Not much, but we call it home. I can get you a soda or somethingÉ 

BRUCE

Pointing to CLARK in the photo

I still have my coffee. I think I met him. Kent, right? He writes for the paper? 

CHLOE

Sometimes. Deadlines aren't his strong suit. Let me grab you a chair or something. 

She grabs the biggest, most comfortable looking chair and puts it next to her desk. BRUCE sits down, but keeps looking around the office. His eyes finally fix on the Wall of Weird. 

What can I ask you that you haven't been asked a million times before? 

BRUCE

Thoughtful

Favorite flavor of ice cream and underwear size. 

CHLOE

Blushes

UmÉ WellÉ 

BRUCE

Getting up and admiring the Wall of Weird. 

You take a lot of photographs. 

CHLOE  
I have to. The staff photographer is even less reliable than Mr. Kent. 

Picks up tape recorder.

So what IS your favorite flavor of ice cream? 

BRUCE

This girl can actually change the appearance of her face? 

CHLOE

She had some kind of control over ALL of her features. Everything except her bone structure. Some people think it has something to do with the fragments of the meteor that crashed about ten years ago

BRUCE

Do you have any pieces? 

CHLOE

They're everywhere. Just go outside and pick one up. They're bright green and hard to miss. I used to have one as a paper weight. But Clark kept getting wigged out by it.

BRUCE

A spark of recognition. 

I'll have to look for one. If you ever got your hands on a coroner's report, I'd be interested in seeing it. 

CHLOE

My. Don't we have a mania for the macabre. 

BRUCE

Looks at the tape recorder and realizes this is all "on record." He hesitates, but keeps talking. 

I was a criminology major. 

CHLOE

And I take it you're NOT any more? 

BRUCE

Looking at the tape recorder again

It was a passing phase. I realized the passion lay more toward aÉ hobby than a career. 

CHLOE

And this hobby includes requesting coroner's reports? 

BRUCE

You'd be surprised the depths to which the insanely rich can delve into their hobbies.

SCENE: LEX's car. 

LEX pulls around the school quickly and comes to a halt hastily next to BRUCE's rental. Both LEX and CLARK exit the car in a rush. 

CLARK

Well, that's a good sign.

LEX

Walks quickly towards school. They both keep looking around, for some OTHER sign of CHLOE

Not always. 

CLARK

Gives LEX a funny look. 

Oh? 

LEX

Opens the door to the school.

Lets just find them. 

In the distance, there are the sounds of a struggle. LEX and CLARK get to a T in the hallways. Not knowing where the sound is coming from, they look at each other once and split up. 

CUT to Torch office. CHLOE is doubled over, BRUCE is behind her, arms wrapped around her, leg pressing against hers. 

BRUCE

You're NEVER going to throw me, if you don't lock your knees. 

CHLOE

Struggling

This worked in Self Defense class!!

BRUCE

Well, it's not doing you any good

CHLOE continues to struggle. The strain of her efforts is evident on her face and features. 

Not when I'm two steps away from

CLARK suddenly appears in a flash of blue and red, and then rips BRUCE off of CHLOE. BRUCE is thrown across the office, into a table. 

CLARK

I don't think so.

CHLOE

WHAT do you think you're doing? 

BRUCE

Slowly getting to his feet. 

They really DO grow them stronger out here. 

Comes towards CLARK, advanced martial art training suddenly becomes evident in every movement. 

CLARK

I have it under control, Chloe. Get out of here. 

LEX catches up, and attempts to pull CHLOE away from the action. 

CHLOE

GUYS. It is NOT what it looks like. 

LEX

It looks like Bruce Wayne, being Bruce Wayne. 

CHLOE

Attention: pig-headed malesÉ Bruce was just showing for me one of his hobbies.

LEX

That's SOME hobby.

BRUCE  
You know I like my hobbiesÉ full contact, Lex.

CLARK 

Relaxes 

Oh? 

LEX

To BRUCE:

That's all you have to say for yourself? 

BRUCE

Casual and snide. 

I'm good, thanks. 

CHLOE

While I appreciate the over protectivenessÉ I don't appreciate the over protectiveness. Quit trying to ruin my interview. 

BRUCE

Dusts himself off. 

The lady has spoken. 

CLARK

Wracked with indecision. 

Are you sure? I meanÉ Lex saidÉ 

CHLOE

Frustrated

Goodbye, Clark. I'll see you tonight. 

LEX

I'm watching you. 

BRUCE

Just keep doing that. You might learn something. 

LEX bites his tongue. 

CHLOE

GO. Before you lose me a quarter page of Lifestyles section in the Ledger. 

BRUCE

Catch you later Lex. Sorry things didn't work out for you THIS time, either. 

LEX

Grabs CLARK's arm and begins pulling him towards the door. 

Come on, Clark. We'll leave Miss Sullivan to finish her interview. And Miss SullivanÉ I'd be careful if I were you. 

Starts to actually leave.

Feel free to use me as a secondary background source when you're done. 

CLARK

Alright. Chloe, if you need anythingÉ Well, I'll see you tonight. Don't be late. We need you. 

CHLOE

Distractedly trying to put the room back together.

Right. Sadie Hawkins decorating. Wouldn't miss it for the world. 

CLARK and LEX exit. 

CHLOE

Flustered 

Holy Disaster. 

BRUCE

Your friend genuinely cares.

Shoves his hands in his pockets casually. 

Lex is just a pain. 

CHLOE

I sense some history. 

BRUCE

Nothing much. We just attended Lexington together. We also got expelled together. I hear his father wasn't amused. 

CHLOE

Oh? 

BRUCE

Are you going to this dance with Mr. Kent? 

CHLOE

It remains to be seen. How did you both--

BRUCE  
He hasn't asked yet? And the dance is WHEN? 

CHLOE 

Sadie Hawkins. The girl asks the guy. 

BRUCE

Oh. 

ButÉ I don't exactly picture you being timid. Or indecisive. 

CHLOE

Is this my interview, or yours? 

BRUCE gives her a half-smile. 

SCENE: Undisclosed, non-descript location. BILL and LARRY are discretely mixing ground green flecks with white powder and bagging it. They have a large load already ready to go. 

LARRY

I thought he might be a narc at first. Turns out he's just some rich kid from Gotham City. 

BILL

Then why's he trying to get into it with us? 

LARRY

Maybe him taking two of our guys down is his way of saying he wants to be the Alpha male? 

Grabs the bag from LARRY

Too much. This green garbage is a killer. 

Fixes the proportion. 

It should look like dishwasher detergent.

LARRY

Laughing. 

Real precise formula. 

BILL

Been working so far. Dead customers aren't repeat customers. 

FADE TO BLACK

COMMERCIAL


	3. Act II

Disclaimers in teaser  
  
"Dust" Act II **  
  
Talon. LANA is listening to CLARK and LEX's story.   
  
CLARK So I gave Pete a call, because I figured he'd be out too. He should be on his way back here.   
  
LANA Well, I'm glad it was just an overreaction on our part.   
  
LEX I wouldn't say overreaction. It just so happened to be unfounded for the moment. I'm keeping my eyes opened.   
  
CLARK Hopefully it won't come to that. Anyway, she said she'd be here tonight to help us decorate. So at least she'll touch base with us then.   
  
LANA Gets out the insurance papers. That's something I've been hoping to talk to you about, Lex.   
  
LEX Page nine.   
  
LANA Yeah. I don't understand how they can get away with that?   
  
LEX Old building, police reports involving the words 'mysterious circumstances.' You should see the price tag on the new policy.  
  
LANA Ouch. Still, that doesn't solve my problem of having 600 people preparing to come HERE for the dance.   
  
LEX I'm sure I can have my legal department straighten out the seating capacity issue. In the mean time, I do have a ballroom that can hold twice the number you need.   
  
CLARK Wow, Lex. That's really nice--  
  
LANA Lex, we couldn't impose-  
  
LEX Don't even think about it. I'm the one who didn't realize the problem with the policy until today. Just let me make a few phone calls. And while I'm at it-I plan on finding out what Bruce Wayne is REALLY doing in Smallville.  
  
CLARK I don't know... Chloe already jumped down our throats once for being overprotective.   
  
LEX Maybe. But I remember how Bruce Wayne was in school. A powder keg waiting to go off. And maybe with due cause. He's been extremely emotionally disturbed since he saw his parents murdered in front of him when he was a kid. While it's possible he's gotten a ton of expensive therapy in the last ten years, he's still potentially dangerous. Moves to the door.  
I only have one request. Looks at the boxes of streamers.   
Leave the gaudier portions of the dŽcor at home.   
  
CUT TO: Outside Smallville High. CHLOE and BRUCE are walking.   
  
BRUCE  
I don't know. That's a... complex question.   
  
CHLOE Well, just tell me the most immediate answer that pops into your mind.   
  
BRUCE  
There are a lot of factors to consider...   
  
CHLOE  
Ok. What if I say this is... off the record.   
  
BRUCE Pumpkin pie flavored. With chunks of crust. Or Rocky Road. But without marshmallows. What's THAT called?   
  
CHLOE Talk about living on the edge. I get a sense that you're very... conscious of the public's perception of you.   
  
BRUCE Everybody's always watching, and they always have certain expectations.   
  
CHLOE I've sort of gotten that from Lex. Truth be told, NO ONE in this town would talk to him before Clark gave him a chance.   
  
BRUCE Speaking of Mr. Kent...   
  
His cell phone rings.   
  
I notice he's REALLY involved in the... goings on of this little burg.   
  
He takes the cell phone out and looks at the caller ID.   
  
Grr. I have to take this.   
  
CHLOE  
Hey, you're an important guy.   
  
BRUCE I don't know when I'll be home, Alfred. Pause. BRUCE has the look of a man being criticized. Yes, I'm "being good." I've only gotten into Lex's face twice since I got here. That's 'best behavior.' He give CHLOE an evil grin. Pause. You just think you know everything, don't you? It's none of your business if I've 'met someone.' And no, I won't bring her home to meet you. You're the butler, remember?   
  
CHLOE blushes, then laughs with the butler comment. BRUCE looks like he needs to be saved.   
Fine. If I DID meet someone, I'd bring her home. Alright?   
  
He takes a few steps away from CHLOE, indicating a need for privacy. His voice lowers. CHLOE looks for something to do, and begins inspecting her nails. No. It's not going to be like Chicago. I know what I'm looking for here. That "Leprichaun Dust" made it to Metropolis and there. The next stop is New York... then Gotham. I have a chance to end it at the source.   
  
Pause. I'm also checking on one of my interests. I want to know WHY he suddenly stopped sharing his research with the world at large. Pause. Because he didn't want to show me his research. Possibly because he found something. I want to know what that something is.   
  
No. I don't know. But I have a few ideas. He hangs up. Sorry. He's trying to get me to go to some stupid charity ball. I told him to just write a check. I hate the collars on those shirts. THAT was off the record, too.   
  
CHLOE So uh... now would be a bad time to invite you to Sadie Hawkins?  
  
BRUCE Do I have to wear a monkey suit?   
  
CHLOE No.  
  
BRUCE Done.  
  
CHLOE There's only one requirement. You have to partake of the decorating.   
  
BRUCE I'm not sure I'd be entirely... welcome.   
  
CHLOE I'm your "in." Besides, I couldn't live with myself if I let you leave Smallville without the whole... experience.   
  
Interior. The Torch. CHLOE is at her computer, researching BRUCE. She's obviously not as taken as we first thought. We see a few screens involving his dismissal from various private schools. Pete appears to be finishing up some work, and is getting his things together to leave.   
  
PETE You coming tonight?  
  
CHLOE Yeah, I'm going to be a little late.   
  
PETE comes over to her computer, to see what she's looking at. She minimizes the windows and turns to face him.   
  
PETE Deadline?   
  
CHLOE  
Always. But I make up for lateness by bringing help.   
  
PETE  
That guy?   
  
CHLOE Yes, 'that guy.' Look, I have a lot to finish up here. I'll meet you guys at the Talon when I'm done.   
  
PETE  
I gotta go or *I* will be late. Don't work too hard.   
  
CHLOE goes back to what she was looking at. Her attention is caught by an article from city news paper about BRUCE stepping in the middle of an ugly club brawl... over drugs.   
  
There's a sound outside the door as she's printing the document.   
  
CHLOE Pete?   
  
As she reaches to grab the pages from the printer, she comes face to face with BOB.   
  
  
  
CUT TO: Kent barn ext. BRUCE has a small pen light, and he's inspecting the painted over burn marks on the barn fa 


	4. Act III

disclaimers in teaser. 

I've given up ever getting the formatting to work properly. 

"Dust" 

Act III

**

BRUCE helps CLARK to his feet and tries to pull him away from the pile of Kryptonite, and to the door of the Talon. He doesn't know what it's doing, but he knows it's bad. 

The Talon is dark, and no one appears to be home, so BRUCE breaks the plate glass door with his foot, unlocks the door and opens the doorframe to drag CLARK through, who is now unconscious. A second later the alarm starts. He throws open the door to the janitor's closet, tosses CLARK in the sink on the floor, and begins turning on the water, both valves, full blast. he takes the cut off piece of hose attached to the faucet and begins rinsing the remaining glowing pieces off of CLARK. He gets CLARK'S shirt off, and his shoes, and tosses them into the dining room of the Talon.  

                                                                        BRUCE

                                    Just haveta get your nose in where it doesn't belong. 

After a few seconds, BRUCE doesn't see any more glowing flecks. He shuts the water off, leaves an unconscious CLARK inside the closet, and exits, stepping through a lot of puddles from splashed water along the way. 

He goes out to the street and picks up the card. It reads: 

"Lowell Hardware and Electrical Repair/ 1750 Rt. 90" 

It also contains a phone number, which BRUCE dials on his cell phone as he gets into the car, which is disconnected. 

CUT TO: Inside the barn. CHLOE is tied up. LARRY and his BOSS aren't paying any attention to her. She's working her cell phone out of her pocket. 

                                                            LARRY

He is obviously anxious after his last encounter. 

                                    Why're we messing with this guy anyways? 

                                                            BOSS

Do you think he's going to just go away? No. He's  rich brat looking for thrills, and I wanna cash in on that. If we do this on MY terms, we get stuff we want and need. We wait for him to catch up to us, we end up licking his shoes. Which side of THAT do you want to be on? 

                                                            LARRY

                                    What if we called it wrong? 

                                                            BOSS

The first sight of cop lights, get rid of her. The truck's out back. We lose a couple days' worth of stuff, but we're free and clear. 

                                                            LARRY

He won't do it. He doesn't want to have to explain to the police how Ten ended up in a coma. 

Notices CHLOE struggling. 

                                    Which is what's going to happen to you, if you don't stop SQUIRMING!

He smacks her. 

CUT TO: CLARK wakes up wet and alone to the sound of the alarm going off.

CUT TO: Interior; LEX'S ballroom. Several students are setting up. It's tactful, no streamers, etc. LEX enters talking on his cell phone, he heads straight for LANA. 

                                                            LEX

Shutting off the cell phone. 

                                    Lana. 

LANA stops what she's doing and walks over. 

                                    That was the security company… There's been a break-in at the Talon. 

                                                            LANA  
Concerned:

Clark was supposed to meet Chloe there… she didn't know about the venue change, and we couldn't get her on her cell. 

                        LEX

Come on. 

LEX picks up her coat and hands it to her. 

CUT TO: Interior of barn. CHLOE is now being watched by BILL. She's fidgeting again. 

                                                            BILL

                                    Do you see that window? 

CHLOE looks behind her at the open window that comes all the way to the floor. 

                                    If ya don't wanna see it while you're going THROUGH it, I'd stop. 

                                                            CHLOE

Well… you're cutting off the circulation to my arms. AND my legs… AND it's hard to breathe… 

                        BILL

You probably gotta take a leak, too. 

                        CHLOE

I wouldn't know. My torso's gone numb. I don't know what you have going with Bruce, and the chloroforming and abducting thing aside, I have nothing against you… so could you like loosen up the rope? 

BILL realizes he's not going to hear the end of her whining until he does something. He adjusts the rope. 

                                                            BILL

                                    Better? 

                                                            CHLOE

Notices she can reach her pocket. 

                                    MUCH. 

She pauses. 

                                    Can I like… get a glass of water? 

                                                            BILL

                                    I liked you better when you were unconscious. 

CHLOE bats her eyes innocently until he leaves. As soon as he has his back turned, she gets out her cell phone. Her movement is still restricted, and all she can do is press 1 and send. 

CUT TO: BRUCE pulls up outside an old barn with a single light illuminating the words "Lowell Hardwa--" in faded paint above the barn door. 

                                                            BRUCE

                                    Great, another abandoned warehouse. 

CUT TO: Kent farm. CLARK speeds into the house, then stops going at super speed when he notices everything in the house shaking because of air movement. His mother is concerned when she sees him in just his boxers, soaking wet. 

                                                            CLARK

These drug dealers have Chloe... and that Bruce guy's involved with them. Lex was right, the guy's…  

                        MARTHA

Slow down, just a second. Where are your CLOTHES? 

                        CLARK

I gotta go. But I don't know where they are… 

                        MARTHA

Your father said there was a break-in at the Talon? 

                        CLARK

That was me—us. I don't remember what happened. I was covered in Kryptonite dust, and then the next thing I know, I'm in the Janitor's closet. 

The telephone rings. CLARK doesn't seem to notice it. 

                        MARTHA

                                    How do you think you got there? 

The telephone rings again.

                                                            CLARK

Doesn't have an answer. 

                                    I… I gotta get some clothes and get out of here. 

The answering machine picks up. 

                                                            VO: JONATHAN

                                    This is the Kents… 

CLARK speeds upstairs for clothes, but comes back down, dressed, when he hears CHLOE'S  voice. 

                                                            VO: CHLOE

So, uh… how long have you guys been holed up in there… um… abandoned barn, repair shop, thingy? 

                                                            MOM

                                    Lowell Hardware? That place has been closed for years—

                                                            VO: BILL

                                    What're you doing with that pho—

  
There's the sound of the phone breaking and going dead.

CUT TO: The Talon. LANA and LEX are looking at the damage. The police are there, red and blue lights are still flashing.  

                                                            SHERRIF

Mr. Luthor. I'm surprised to see you here. I heard there was a black sports car doing 80 on Old Smallville road, out of town. 

                                                            LANA

                                    It doesn't LOOK like anything's missing. 

                                                            LEX

                                    But it looks like they LEFT something. 

SHERRIF walks over to the clothes. 

                        LEX

Whispers to LANA

You're the business manager. You should be able to handle this. I'm going out there.

CUT TO: BRUCE snooping inside the barn. There's old abandoned equipment up front, but in the back there are a few work tables with lights, and the tables are piled high with baggies filled with a white powder with sparkling green flecks in it. There are two people at the table filling the bag whom he is about to sneak up on, then he hears the sounds of struggle. 

He dashes up a makeshift set of narrow steps leading up to the loft when he hears CHLOE scream. 

When he gets up there, BILL is dragging CHLOE towards the window and LARRY is kicking what's left of the cell phone out of the way. 

CHLOE tries to dig her heels into the floor boards as BRUCE dispatches LARRY

CUT TO: CLARK coming out of super-speed right outside the barn, seeing the struggle through the window upstairs. He throws open the barn door, but is stopped in his tracks by the glow of Kryptonite. The two men putting the stuff into bags notice him and come after him with guns. He takes a few steps outside of the barn and the effects dissipate. 

CUT TO: Loft. BOSS pulls a gun on BRUCE. BRUCE knocks it away with a broom that breaks instantly, and it fires wildly into the ceiling. CHLOE is still struggling with BILL and bites him. 

                                                            BILL

                                    AAGH! You Bi—

CUT TO: Outside the barn. CLARK winces when he hears the gun fire, but he can't get close to his two assailants. The men have Kryptonite dust on them, so CLARK has to  keep his distance. They fire twice at him. The first he dodges, the second he bats away with his hand. ]

CUT TO: Loft. 

CHLOE gets her feet on other side of the window frame and keeps struggling with LARRY. She finally  manages to push herself away, and the chair lands on top of LARRY

                                                            CHLOE

The wind is knocked out of her, 

                                    UGH. Bruce… 

The quarters are tight, so BRUCE is  having a hard time with boss. He gets BOSS up against a wall, but gets hit in the side with the other part of the broom handle, the snapped edge clipping BRUCE in the ribs when BRUCE gets temporarily distracted with CHLOE falling to the floor and screaming in pain. 

CUT TO: Outside. CLARK uses his heat vision to make the first guy drop his gun. The second sees this and charges CLARK. CLARK dodges, then grabs a rusty barrel and throws it at the man, bowling him into the second. 

CUT TO: Loft. CHLOE is struggling to get to her feet while still being tied to the broken chair. She's scratched and bruised. 

BRUCE gasps and yanks the bloody piece of wood out of his side. Meanwhile, BOSS is grabbing a wrench off of a work bench to have another go at BRUCE. 

                                                            BRUCE 

                                    This is OVER. 

He pulls the wrench out of BOSS'S hand and throws it on the ground. He's holding BOSS by the throat when he looks over his shoulder at BILL and CHLOE. He does not notice LARRY regaining consciousness and reaching towards the wrench. 

                                    Get away from her. 

                                                            BILL

He's very close to CHLOE and when he turns towards BRUCE, it's obvious that he has a gun to her head. 

                                    I don't think I will. 

CUT TO: outside. CLARK grabs the rusty abandoned tractor along the side of the building, and drags it over to the front, climbing on top of it, he reaches for the window. 

From CLARK'S POV. He's about three feet away from the man with the gun to CHLOE's head. It is evident that all he has to do is hoist himself up and he'll be able to stop the man who has CHLOE. Just as he pulls himself upward, one of the men he was fighting grabs his heels, getting Kryptonite dust into his shoes. He loses strength and it's suddenly a chore to hang on. He sees BRUCE bleeding, holding on to BOSS and LARRY sneaking up behind him. He's about to warn BRUCE, but the man tugs and he comes falling down, and onto the hood of the tractor. The man wraps his hands around CLARK'S neck. The Kryptonite makes his neck discolor and he struggles to breathe. 

CUT TO: Loft. 

                                                            BRUCE

                                    What exactly is it that you people want? 

                                                            BILL

                                    Lets start with letting him go.  Then we can talk about this all civilized. 

                                                            BRUCE

Not letting up his grip. 

                                    Right. 

CUT TO: CLARK has his hands in the stooge's face, trying to push him away, but he's weakening. Finally, he manages to roll to one side, dumping his assailant off of the hood of the tractor. He wipes his neck with his jacket and takes that off, then begins kicking his shoes off. 

BILL looks behind BRUCE at LARRY, who is about to strike. BRUCE sees this, and kicks behind him, knocking LARRY in the head. His elbow slams into BOSS'S head, knocking him unconscious. BILL is about to pull the trigger on CHLOE, who tries to push herself away. BRUCE dives for her chair, knocking it out of the way, and completely breaking it. BILL tries to train the gun on BRUCE, and lets off a shot just as BRUCE leaps at BILL, landing him and swatting the gun away before knocking BILL unconscious. 

                                                            BRUCE

                                    Chloe, I'm going to—

He turns around and sees her laying on her side, blood spurting out of her shoulder. 

  
CLARK lifts himself into the window. 

                                                            CLARK

                                    Chloe? 

                                                            CHLOE

                                    It's not too bad. Right? 

                                                            BRUCE

                                    It's not bad at all. 

CHLOE passes out. 

Very seriously to CLARK

                                    Get her to a hospital. Now. 

He gets up and starts to leave. 

                                                            CLARK

                                    Wait. Where're you going? 

                                                            BRUCE

                                    You don't need me for this. I've done no good here. 

He heads for the steps as CLARK picks CHLOE up. 

                                    When she wakes up, tell her… 

Unable to express himself, he just leaves. 

CUT TO: LEX pulling up. BRUCE is about to get in his car. He looks over his shoulder as a blur of red and blue flashes out the top of the barn and around the back. LEX gets out. He sees the two unconscious goons in the gravel driveway. He also sees CLARK'S shoes and jacket. 

                                                            LEX

                                    What the hell do you think—

                                                            BRUCE

                                    Your friend Kent can fill you in on the details. 

                                                            LEX

                                    Where IS Clark? 

                                                            BRUCE

                                    Smallville Medical, is my guess. 

                                                            LEX

                                    And how might you have come by THIS information?

                                                            BRUCE

                                    I'm sorry about Excelsior. You are right. 

                                                            LEX

                                    About what? 

                                                            BRUCE

Gets into the car

                                    I AM aimlessly grasping at the dark. 

CUT TO: CHLOE wakes up in her hospital room just as CLARK enters. 

                                                            CLARK

                                    Oh… hey. Look who's back with the rest of us. 

                                                            CHLOE

                                    What happened? Where's Bruce? Is he OK? I saw that guy… 

                                                            CLARK

Wow. I can see the morphine hasn't dulled your reporting edge. One thing at a time… 

                        CHLOE

Slower this time

                                    What happened after I blacked out? What happened to Bruce? 

                                                            CLARK

                                    I think he left Smallville. 

Trying to be gentle about it. 

I… I guess he didn't want to stick around and answer questions. The Sheriff has already been told to filter everything through his high-priced Gotham City lawyers. 

Sees Chloe's disappointment. 

                                    I'm sorry. I know you guys kind of got a long. 

                                                            CHLOE

Putting on a brave face. 

Hey. It's ok. It's not like he's the first guy who's ever not turned out the way I thought he was. 

CUT TO: BRUCE sitting at a desk in a very dark office. Only the desk lamp is lit. He picks up the phone on his desk and presses a button for an internal number in the house. 

                                                            BRUCE

                                    I'm leaving again, Alfred. 

He pinches the bridge of his nose.  

                                    I don't know when I'll be home. Tibet. 

He begins rubbing his eyes.  

                                    I think I need the silence. 

He picks up the stack of papers in front of him, they appear to be reports from Dr. Swann. Removing the last page from the pile, he tosses it all into the shredder. He takes a hard look at the last page, the article torn from the magazine. First he touches the photo of the Kent barn, then CHLOE'S last name in the photo credits. After a moment's hesitation, he tosses it into the shredder too. He gets up, picking up the coat from the back of his chair. He shuts off the light and leaves. 

CUT TO: The Luthor Ballroom, Dance night. CLARK is taking tickets and CHLOE is trying to help. She's sitting in a chair with one arm in a sling, frustrated with her inability to tear. Her face is still scratched and bruised. 

                                                            CHLOE

                                    I am the worst ticket-taker in the world. 

                                                            CLARK

Trying to cheer her up. 

Look at it this way. Instead of being a one-armed gimp, you could be a no-armed gimp. 

                        CHLOE

This sling doesn't match my dress. 

PETE comes over with some punch. 

                                                            PETE

                                    Anybody thirsty? 

                                                            CLARK

                                    Dying. 

He takes a cup from Pete. 

                                                            PETE

We haveta let the Morris twins plan this stuff more often—they got these little sandwich things over there… 

                        CHLOE

She gets up. 

                                    I think I need a little air. 

Moving carefully past some dance guests, she goes out into a court yard. Leaning against a wall and resting, she looks up at the stars. 

                                                            BRUCE

From the shadows

                                    I'm sorry I didn't stick around. 

                                                            CHLOE

Hey, who wants to explain why they're hanging out with a bunch of drug dealers? 

                        BRUCE

I don't blame you for being angry. 

                        CHLOE

Good. 

He steps out of the shadow wearing a very conservative tuxedo. 

                                    What's this? 

                                                            BRUCE

                                    I don't know. Penance? 

                                                            CHLOE

                                    Why're you here? 

                                                            BRUCE

I wanted to apologize. I know you're mad. The only person more angry at me than you… is me. I miscalculated… a lot of things. It's why I'm… I'm going away. 

                        CHLOE

And why'd you leave the first time? 

                        BRUCE

His honesty is very stiff and restrained. 

I… I'm not ready. I thought I was ready.

                        CHLOE

Where are you going? 

                        BRUCE

I'm… I'm not ready… I've been studying. I thought I was done, that it was time to come back… It's not. There's a lot I still have to learn. I'm leaving tonight. I just want to… 

                        CHLOE

Assuage your guilt? 

                        BRUCE

Tell you something. Besides that I'm sorry. I know I can't make up for… I just wanted to say… if I could stop what I'm doing. If I could just… put the breaks on my life. Maybe turn it back a little, before I started down on this path… 

If only things were simpler. More direct. 

He touches her cheek. CHLOE closes her eyes, trying to ignore the significance of what he's saying. 

For a few minutes… I thought I could have both. I don't deserve… you deserve better.  

He looks down at the ground again. 

                                    If things were different.

                                                            CHLOE

Shows something besides anger for the first time. 

                                    I'd be meeting your butler? 

                                                            BRUCE  
Looks very guilty and uncomfortable. 

                                    I—

He hesitates. 

                                    Alfred would have approved of you. 

He looks behind her at CLARK, who's coming outside to meet up with her. 

                                    You don't need to drop a barn on him. Just a paperweight or two. 

CHLOE turns around to see who BRUCE is referring to. She gives a wave to CLARK, then turns back to BRUCE, who is gone. She searches the shadows for him but to no avail. CLARK meets up with her, and when she turns to face him, there are tears welling in her eyes. 

                                                            CLARK

                                    Are you ok? 

                                                            CHLOE

                                    I wish things were simpler.  

                                                            CLARK

Looking into the shadows. 

                                    I think we all do.  

He puts an arm around her gently, and turns her back towards inside. 

PAN UP to the roof, and BRUCE watching them go back inside together. 

PAN UP to the stars and the full moon. 

END CREDITS. 


End file.
